Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. “A constant desire for the truth of life, full of painful doubts, difficult internal breakdown, sometimes severe disappointment did not leave Perov until recently. This is the secret of the charm that he had...” (Botin B.N.)
The emergence of a broad movement of critical realism in Russian painting was prepared in the 1920s by a part of Russian society that absorbed the prose of N.V. Gogol, poetry by N.A. Nekrasova, aesthetic views of N.G. Chernyshevsky. Fine art needed a boost so that depictions of the life of disadvantaged compatriots could be realized on canvas. Such an impetus was the work of Vasily Grigorievich Perov. Critical realism is an artistic method and literary movement that developed in the 19th century. Its main feature is the depiction of human character in organic connection with social circumstances, along with a deep social analysis of the inner world of man.
Born on December 21, 1833 in Tobolsk. son of Baron G. K. Kridener. The surname “Perov” arose as a nickname given to the future artist by his literacy teacher, a junior sexton. He completed a course at the Arzamas district school and was sent to the art school of A.V. Stupin (also in Arzamas). Vasily Perov. Self-portrait Vasily Perov. Self-portrait
In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where he studied with M. I. Scotti, A. N. Mokritsky and S. K. Zaryanko. In 1856 he received a small silver medal for a sketch of a boy's head submitted to the Imperial Academy of Arts. Subsequently, the Academy awarded him other awards: a large silver medal for the painting “The Arrival of the Stanovoy for Investigation” (1858), a small gold medal for the paintings “Scene at the Grave” and “The Sexton’s Son, Promoted to the First Rank” (1860), a large gold medal for the painting “Sermon in a Village” (1861).
In 1861, for the painting “Sermon in a Village,” Perov received a large gold medal and the right to travel abroad at public expense; in 1862, he went to Europe, visiting a number of cities in Germany, as well as Paris. This period includes paintings depicting European scenes of street life (“Seller of Figurines”, “Savoyard”, “Parisian Organ Grinder”, “Beggars on the Boulevard”, “Musicians and Onlookers”, “Parisian Rag Pickers”).
Sermon in the village of Parisian rag pickers
Having returned to Moscow ahead of schedule, from 1865 to 1871 Perov created the paintings “Another at the Fountain”, “Monastery Meal”, “Seeing Off the Dead Man”, “Troika”, “Clean Monday”, “The Arrival of a Governess at a Merchant’s House”, “The Art Teacher” ", "Scene by the Railway", "The Last Tavern at the Outpost", "Birder", "Fisherman", "Hunters at a Rest".
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Presentation on the topic "V. G. Perov" (9th grade) can be downloaded absolutely free on our website. Project subject: MHC. Colorful slides and illustrations will help you engage your classmates or audience. To view the content, use the player, or if you want to download the report, click on the corresponding text under the player. The presentation contains 24 slide(s).
Presentation slides
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Center for ART - Education All-Russian competition “Pride of the Fatherland”: Anniversaries of Russia in 2013 (history and culture) Presentation for a history lesson. Presentation topic: “Vasily Grigorievich Perov - an outstanding genre painter of the 19th century (on the 180th anniversary of the artist’s birth).” Vitvitskaya Lyubov Mikhailovna, history teacher Alexandra Arshinova, 9a grade student at MBOU Secondary School No. 4, Kolchugino, Vladimir Region.
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Perov is one of the best Russian painters of modern times, born in Tobolsk on December 23, 1833. (The real surname is Kridener. The surname “Perov” arose as a nickname given to the future artist by his literacy teacher, an ordinary sexton).
Perov Vasily Grigorievich (1833-1882)
"Self-Portrait", 1851
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Perov received his first painting lessons at the Arzamas school of A.V. Stupina - the best provincial art school of that time. While there, in addition to copying originals, he began to try his hand at composition and painting from life for the first time and painted the painting “The Crucifixion.” Upon completion of the work, the sixteen-year-old artist donated it to the church of the neighboring village of Nikolskoye as an altarpiece (located in the church of the village of Nikolskoye, Arzamas district).
Monument to Stupin in Arzamas
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In 1853 he entered the Moscow School of Painting, Sculpture and Architecture. The famous sculptor Ramazanov, the school inspector, approved of Perov's drawings and accepted him as a student. He lived with a poor relative, an old maid, an orphanage matron, and sick with consumption. His father was old and did not send him money. After the death of a relative, he was literally left homeless, but one of the school teachers, E.Ya. Vasiliev offered to move to his government apartment, noticing good abilities in the young man. In 1856, for a sketch of a boy's head presented at the Imperial Academy of Arts, he received a small silver medal. This award was followed by others awarded to him by the Academy: in 1858 - a large silver medal for the painting "The Arrival of the Stanovoy for Investigation", in 1860 - a small gold medal for the paintings "Scene at the Grave" and "The Sexton's Son, Received the First Rank", in 1861 - a large gold medal for “Preaching in the Village.”
“First rank. The son of a sexton, promoted to collegiate registrar", 1860
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In the painting “Sermon in a Village,” created in the year of the abolition of serfdom, Perov depicted a scene in a rural church. The priest points upward with one hand and with the other at the plump, unpleasant landowner dozing off in a chair; The young lady sitting next to her is also not listening to the sermon, she is carried away by what some well-groomed gentleman is whispering in her ear. To the left are peasants in torn clothes. They, scratching their heads, sadly and incredulously listen to the priest, apparently instilling that all power is from God. “I wanted to depict one of the sermons of John Chrysostom, and I tried to show the degree of its effect on different characters, on youth and old age, on poverty and wealth.” , - this is how the artist explained the concept of the canvas.
"Sermon in the Village", 1861
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Simultaneously with “The Sermon,” Perov painted two paintings: “Tea Party in Mytishchi, near Moscow,” where an obese monk is surprisingly typical, and “Rural procession at Easter.” The last picture shows everyone completely drunk. The rural priest grabbed the porch column and could barely hold the cross in his other hand; The deacon completely collapsed on the threshold, floundering and could not get up.
“Tea drinking in Mytishchi, near Moscow”, 1862
“Rural religious procession at Easter”, 1861
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Having received, along with a large gold medal, the right to travel to foreign lands at public expense, Perov went there in 1862. He visited the main art centers of Germany and spent about two and a half years in Paris. Here he made sketches from life and painted several paintings depicting local types and scenes of street life (“Seller of Figurines”, “Savoyard”, “Organ Grinder”, “Parisian Rag Pickers”, “Beggars on the Boulevard”, “Musicians and Onlookers”, and etc.), but soon became convinced that the reproduction of unfamiliar, foreign customs was not as successful for him as the depiction of his native, Russian way of life. The Academy allowed him to return to Russia a year before the end of the appointed period.
“Savoyard”, 1863-1864 “Organ Grinder”, 1863
"Parisian Rag Pickers", 1864
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After arriving in Moscow, the artist created increasingly expressive and full of deep meaning human tragedies: “Seeing off the Dead Man” (1865), “The Arrival of a Governess at a Merchant’s House” (1866).
“Seeing off the dead man”, 1865
“The arrival of a governess at a merchant’s house”, 1866
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Perov is attracted to the cold, gloomy scenes of city life. His painting “Troika” (1866), depicting little apprentices, is famous. Exhausted, the children pull an icy barrel of water.
In the painting “The Drowned Woman” (1867), Perov depicted a policeman on duty near the body of a dead woman.
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In 1867, the painting “The Drawing Teacher” appeared - a whole poem from real life in the power of the best Turgenev types.
The painting “Birdcatcher” was painted with even greater skill, which is one of the masterpieces of the Russian school. The picture begins a new period of Perov’s activity and coincides with the beginning of the activities of the Association of Traveling Exhibitions.
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In Perov’s paintings of the 60s, everything - composition, color, and always the harsh landscape - was aimed at expressing his main thoughts, and - as Stasov said very well - everything in them is “strict, important and painful.” But how often Perov was prevented from working; how often he indignantly waved away nonsense conversations, newspaper articles in which he was accused of not loving his fatherland if he showed it in such a “disgusting” light, that he, “no matter what the picture, is a tendency and protest “, that “wouldn’t it be better for an artist to work in the name of pure art.
"Clean Monday", 1866
"Queue at the Pool", 1865
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One of the artist’s highest achievements is “The Last Tavern at the Outpost” (1868). This is a picture of great emotional tension, unusually integral in its artistic design. On the outskirts of the city, at the last tavern, two harnessed sleighs stopped. The peasant woman who remained in the sleigh has been waiting for her spree husband for a long time. The last street of the city runs off into the distance, towards the outpost, behind which the world of the village begins. The landscape is imbued with a feeling of melancholy and loneliness.
Evening twilight, the overall tone is gray-brown, and only the snow-covered windows of the tavern are illuminated from the inside by an alarming light, and the cold yellow streak of sunset burns out on the horizon behind the outpost pillars, revealing a boundless distance.
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Perov devoted a lot of energy and time to social work. He was a member of the Moscow Society of Art Lovers and a member of the committee of this society. “...I find that I positively do not have the right to refuse such an honorary title. Therefore, I hasten to express to you my gratitude, as well as my readiness to serve for society and for its good purposes...” - he wrote in response to his election. And, despite his busy schedule, he was very conscientious about his duties and participated in all the affairs of society.
When in 1869 the artist Grigory Grigorievich Myasoedov proposed organizing a partnership to organize exhibitions by the artists themselves, Perov was the first to seize on this idea. But in those years it was not so easy to obtain permission to set up such a partnership. Tsarist officials, who constantly prohibited the exhibition of paintings by unwanted artists, did not approve of the new society; the Academy of Arts also did not like this idea much.
“Portrait of the historian Mikhail Petrovich Pogodin”, 1872
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Perov, Myasoedov, Kramskoy and other artists decided not to retreat. Endless troubles began. A year later, permission was received, and then the charter of the partnership was approved. It was necessary to prepare for the first exhibition, which was supposed to open in St. Petersburg. The year in which conversations about a new partnership began was one of the most difficult in Perov’s personal life: in one year his wife and two older children died, leaving only one youngest son. It was difficult to come to terms with this, and only boundless love and devotion to art, and the support of friends helped Perov overcome grief and find the strength to work.
Since 1871, the TPHV has organized 48 traveling exhibitions in St. Petersburg and Moscow, which were then shown in Kyiv, Kharkov, Kazan, Orel, Riga, Odessa and other cities.
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At the traveling exhibition of 1871, two excellent paintings by Perov were exhibited - “Fisherman” and “Hunters at a Rest”. These paintings represent a direct continuation of beautiful genre subjects.
"Fisherman", 1871
"Hunters at Rest", 1871
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The achievements of Perov, a portrait painter, are significant. Depicting outstanding figures of Russian culture, the artist managed to reveal their complex inner world and high spirituality. The portrait of F.M. Dostoevsky (1872) is widely known; the portrait of A.N. Ostrovsky (1871) and the portrait of V.I. Dahl (1872) have received well-deserved recognition.
Portrait of Dostoevsky
Portrait of Ostrovsky
Portrait of Dahl
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His fascination with the historical novels of Salias and Karnovich gave Perov the idea of writing two large historical paintings - “The Court of Pugachev” (1873, unfinished) and “Nikita Pustosvyat. Dispute about faith." He remade the first one several times, and he himself remained dissatisfied with it. Pugachev sits on the porch of the landowner's house, surrounded by a crowd of his associates, whose robber faces are extremely characteristic. There is an oath ceremony, which is performed by a pitiful, unhappy priest, shaking with fear. In the courtyard, in front of Pugachev, there is a crowded crowd of people, in the forefront of which stands the landowner family, whose members, some with despair, some with firmness and courage, are awaiting a decision on their fate. In the background, gallows are silhouetted against the ominous background of the fire. The leader of the uprising is contrasted with a proud, imperious landowner, looking at “Emelka” with anger. Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey reprisals against the landowners. The artist carefully prepared for the implementation of his creative plan: he read a lot about the Pugachev uprising, traveled to the Volga and the Urals, sketched types there (“Head of a Kyrgyz”, “Head of a Tatar”), and made sketches for Pugachev. But out of the entire triptych, he managed to paint only the third picture - “Pugachev’s Court”.
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Throughout his life, Perov turned to literary creativity. It is impossible not to mention his stories, which are as piercing and deep as his paintings. Perov reflected the stories of the creation of some of his paintings in a series of stories, in particular about the “Troika” - in the story “Aunt Marya”, about the “Drowned Woman” - “On Nature. Fanny at No. 30." In the last years of his life, having moved away from the Partnership, Perov practically abandoned all exhibition activities - “Nikita Pustosvyat” became known to the general public after the artist’s death. Some idea of Perov’s state of mind at this time is given by such paintings as “Wanderer in the Field (On the Path to Eternal Bliss)” and “Return of Peasants from a Funeral in Winter.” The artist increasingly thinks about his imminent death, and perceives creative failures more and more painfully. He teaches at the Moscow School of Painting, Sculpture and Architecture; among his students are M.V. Nesterov, A.P. Ryabushkin. S.A. Korovin, N.A. Kasatkin, A.E. Arkhipov. He supports and takes care of his friend, the great landscape painter A.K. Savrasov. Evidence of this friendship can be considered an unfinished portrait of Savrasov by Perov.
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Perov’s most significant painting on a historical theme, and surpassing the others in size, is “Nikita Pustosvyat”. Before us is the Chamber of Facets. Nikita, enraged by the argument and a successful blow to the head of the Suzdal Metropolitan Athanasius, who fell backward on the steps of the throne, advances on the patriarch with clenched fists. His figure alone is worthy of a whole picture; in all of Russian painting one cannot find another like it, where the character of this fanatic of the schism could be so amazingly correctly guessed. Around him is a crowd of schismatics who have come with him to defend the common cause. It consists of all kinds of types, different expressing their sympathy for Nikita’s act, rushing to rid him of the invaded archers. The picture is full of movement and drama.
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In 1881, Perov suffered from typhus and pneumonia, and his health condition worsened. The artist's friends tried to help him. L.N. Tolstoy brought the famous doctor Zakharyin to him, P.M. Tretyakov, with whom Perov was friends throughout his life, invited him to live at his dacha in Kurakino. In May, the seriously ill Perov was transported to a hospital in Kuzminki near Moscow, where the artist’s brother worked as a resident. On the eve of his death, Perov wrote his last letter to Tretyakov: “Dear and kind friend Pavel Mikhailovich, I kiss you... and thank you from the bottom of my heart for everything that you have done and are doing for me... Your Perov. All hope is in God." On May 29 (old style), 1882, the artist died in the hospital.
Portrait of Tretyakov. Ilya Repin.
Portrait of V. G. Perov I. N. Kramskoy
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Perov was buried at the Danilovsky cemetery in Moscow. In the 1930s, his ashes were transferred to the Donskoy Monastery cemetery. Always modest, thinking little of himself, he did not highly value his works and, despite the modest demands that he made on life, he left behind nothing but debts. A whole century separates us from the moment when Perov’s life was cut short. Over these long years, many great masters have appeared, and many once great names have been forgotten. But the art of Vasily Grigorievich Perov, a magnificent artist-storyteller and “high moral personality,” remains alive and relevant. Perov was the first talented follower of Fedotov, and the subsequent generation of genre artists, led by the talented Vladimir Makovsky, was brought up on his works. One of the stories written by Perov says: “An artist who knows and loves his art leaves behind creations that pass on to posterity and live there for a long time.” These words rightfully apply to the work of Perov himself.
Inveterate, 1873 Self-portrait
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Literature and Internet resources.
1. Masterpieces of Russian painting. Encyclopedia of world art. From “White City”, 2006, p.162-174 2. Aleksandrov V.N. History of Russian art. Minsk “Harvest” 2007, pp. 441-444. 3. Roginskaya F.S. Association of Traveling Art Exhibitions: Historical Essays. M., 1989. 4. Sarabyanov D.V. History of Russian art of the second half of the 19th century: Course of lectures. M., 1989.
Perov Vasily Grigorievich
Prepared a presentation
primary school teacher
MBOU secondary school No. 12
urban district of Vyksa
Nizhny Novgorod region
Shcherbatova Svetlana Nikolaevna
Perov Vasily Grigorievich (1833-1881)
- Russian artist Vasily Grigorievich Perov was born in Tobolsk December 23, 1833.
- Vasily's father Grigory Karlovich Kridener was a prosecutor, spoke several foreign languages, and was fond of art. Since at the time of the child’s birth the parents were not officially married, and the boy did not have the right to bear his father’s surname, it was given by his godfather - Vasiliev.
- Little Vasily's mother taught him to read and write very early. The boy continued his studies with a local sexton, who gave him the nickname for his success in penmanship Perov . Subsequently, this nickname was adopted by the artist as a surname.
- Perov developed an interest in painting at the age of nine. When the family lived under Arzamas, a local artist was once invited to the house to touch up an old portrait of his father. The boy was so captivated by the process of the artist’s work that he became interested in drawing. Vasily's parents encouraged his hobby.
- After studying for three years at the Arzamas district school, 1846 Perov entered the famous art school A.V. Stupina. However, Perov never finished art school: having quarreled with his comrades, he went to the village to live with his parents and never appeared at school again. Nevertheless, the young man did not give up painting.
- Living in the village, a young artist paints a picture "Crucifixion" which he donated to the nearest village.
- IN 1851 Perov paints a self-portrait and portraits of his parents.
- IN 1853 the artist goes to Moscow, where he enters the Moscow School of Painting, Sculpture and Architecture. Among his teachers at the School were E.Ya. Vasiliev, A.N. Mokritsky and S.K. Zaryanko.
- After some time, due to his difficult financial situation, Perov almost quits school. Helped him in difficult times Egor Yakovlevich Vasiliev . Friendship with fellow students, the famous Russian landscape painter, also helped the young artist not to lose heart I.I. Shishkin and the outstanding genre painter I.M. Pryanishnikov, with whom he had to take turns wearing the same fur coat. Despite all the difficulties, Perov continued to study hard.
IN December 1856 Vasily Grigorievich was awarded the Second Silver Medal for his work “Head of a Boy”. IN 1857 artist paints pictures “Grandmother and granddaughter” and “Arrival of the police officer for investigation.” The last work was awarded by the Academy Council with a Great Silver Medal. Perov's next work "First rank" written in 1860 , was awarded a Small Gold Medal.
- IN early 1863 Vasily Grigorievich goes on a business trip abroad. Perov first visits Germany and then France. During the year and a half spent in Paris, the artist painted small sketches, the most characteristic of which is "The Blind Musician" (1864). Of the most famous works of this period, we note the painting "Savoyar" (1863-64), graphic sheet "Funeral in a poor quarter of Paris" (1863), a number of sketches and sketches:“Parisian rag pickers”, “Organ grinder on the boulevard in Paris”, “Holiday in the vicinity of Paris”, “Street scene in Paris”, “Song seller”, “Organ grinder”, “Italian selling figurines”.
- IN 1864 Perov returns to Moscow ahead of schedule from a business trip abroad.
- 1870s - the heyday of Perov’s creativity. Among the best works of this period are paintings“Seeing off the Dead Man” (1865), “The Drowned Woman” (1867), “The Last Tavern at the Outpost” (1868), “Troika” (“Apprentice Craftsmen Carrying Water,” 1866), “The Governess’s Arrival at the Merchant’s House” (1866) .
- A special feature of Vasily Grigorievich’s work is that he wrote stories about the lives of the heroes of his paintings. The paintings were successfully exhibited at the World Art Exhibition in Paris.
- IN 1866 Perov receives the title of academician. IN 1870 artist paints a picture "Birdcatcher" for which he was awarded the title of professor.
- IN 1870 The artist suffered great personal grief: his family died from the epidemic.
- IN 1870s Vasily Grigorievich turns to the portrait genre.
- The artist paints portraits of representatives of the Russian intelligentsia: philologist V.I. Dahl, doctor and writer V.V. Bessonov, poet A.N. Maykov, writer A.N. Ostrovsky, historian and writer M.N. Pogodin, writer I.S. Turgenev.
- Portrait of the Russian writer F.M. Kramskoy called Dostoevsky one of the best portraits of the Russian school of painting.
Portrait of A. N. Maykov.
Portrait of I. M. Pryanishnikov.
- WITH 1871 Perov teaches at the Moscow School of Painting, Sculpture and Architecture.
- Among his students were future famous artists M. V. Nesterov, A. P. Ryabushkin, I. I. Levitan, Korovin brothers.
Paintings by V.G. Perov
Young woman
- At the end of 1881, typhus and pneumonia finally undermined his health.
- V. G. Perov died from consumption in a small hospital near Moscow on the estate Kuzminki (now the territory of Moscow).
- He was buried in the monastery cemetery in the Danilov Monastery.
- His ashes were reburied in the monastery cemetery in Donskoy Monastery
- The exact date of reburial has not been established.
- A monument by sculptor Alexei Evgenievich Yeletsky was erected at the artist’s new grave.
- His son - Vladimir Perov - was also an artist.
Thank you
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Perov Vasily Grigorievich 1834 - 1882
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Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. Birth name: Vasily Grigorievich Vasiliev Date of birth: December 21, 1833 (January 2, 1834) Place of birth: Tobolsk, Russian Empire Date of death: May 29 (June 10) 1882 (48 years old)
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Born on December 21, 1833 in Tobolsk. Son of Baron G. K. Kridener. The surname “Perov” arose as a nickname given to the future artist by his literacy teacher, a junior sexton. He completed a course at the Arzamas district school and was sent to the art school of A.V. Stupin (also in Arzamas). Self-portrait 1851
Biography
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In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where he studied with M. I. Scotti, A. N. Mokritsky and S. K. Zaryanko. In 1856 he received a small silver medal for a sketch of a boy’s head submitted to the Imperial Academy of Arts. Subsequently, the Academy awarded him other awards: - a large silver medal for the painting “The Arrival of the Stanovoy for Investigation” (1858) - a small gold medal for the paintings “Scene at the Grave” and “Son of a Sexton, Promoted to the First Rank” (1860), - a large gold medal for the painting “Sermon in a Village” (1861).
Studies. Awards
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Gold medal
In 1861, for the painting “Sermon in a Village,” Perov received a large gold medal and the right to travel abroad at public expense; in 1862, he went to Europe, visiting a number of cities in Germany, as well as Paris. This period includes paintings depicting European scenes of street life (“Seller of Figurines”, “Savoyard”, “Parisian Organ Grinder”, “Beggars on the Boulevard”, “Musicians and Onlookers”, “Parisian Rag Pickers”).
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Sermon in the village 1861
Parisian rag pickers
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Parisian organ grinder
Organ Grinder
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Returning to Moscow, from 1865 to 1871 Perov created the paintings “Another at the Fountain”, “Monastic Meal”, “Seeing Off the Dead Man”, “Troika”, “Clean Monday”, “The Arrival of a Governess at a Merchant’s House”, “The Art Teacher”, “Scene by the Railway”, “The Last Tavern at the Outpost”, “Birder”, “Fisherman”, “Hunters at a Rest”.
Great paintings
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In his portraits, Perov was able to identify new socio-psychological perspectives for portrait art; he sought to recreate a person on canvas not only in his material concreteness, but also in the inexhaustibility of his spiritual world: “Whatever the type, whatever the face, whatever the character, the peculiarity of the expression of every feeling. A deep artist is recognized by studying and noticing all these features, and therefore his work is immortal, truthful and vital,” stated Perov.
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In the last years of his life, V. G. Perov collaborated in the journal “Nature and Hunting” by L. P. Sabaneev. A number of his stories were published in the Art Magazine. At the end of 1881, typhus and pneumonia finally undermined his health. V. G. Perov died of consumption in a small hospital near Moscow on the territory of the Kuzminki estate (now the territory of Moscow). He was buried in the monastery cemetery in the Danilov Monastery. His son, Vladimir Perov, was also an artist.
The presentation by Vasily Grigorievich Perov talks about the life and work of the artist. The work of a 10th grade student of the MCOU "Secondary School" in the village of Shansky Zavod. Can be used at an extracurricular event dedicated to the work of the Russian artist V.G. Perov.
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One of the greatest artists of the second half of the 19th century, a Russian painter, one of the founders of genre painting.
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Born in Tobolsk. He was the illegitimate son of the local prosecutor, Baron G. K. Kridener. For a long time, official documents indicated the surname “Vasiliev”, given by the name of the godfather. The surname “Perov” was given to the future artist in the form of a nickname by his literacy teacher, an ordinary sexton.
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A. I. Kridener
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Arzamas
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Arzamas district school
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A. Mokritsky
S. Zaryanko
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Moscow School of Painting, Sculpture and Architecture
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“Arrival of a police officer for investigation” (1858)
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“Son of a sexton, promoted to the first rank” (1860)
“Scene at the Grave” (1860)
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“Sermon in the Village” (1861)
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“Tea drinking in Mytishchi” (1862)
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“Major's Matchmaking” (Fedotov)
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Elena Edmondovna Shays (Perova)
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"Savoyard"
“Organ grinder”
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“Parisian rag pickers”
“Parisian organ grinder”
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“The Next Ones by the Pool” (1865)
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“Pugachev's Court”
Preview:
1. Vasily Grigorievich Perov is one of the largest artists of the second half of the 19th century, a Russian painter, one of the founders of genre painting. Perov’s work has left a deep mark on the history of Russian art. The theme of people's suffering and the art of realistic psychological portraits were developed by Perov's contemporaries and followers, members of the Association of Traveling Art Exhibitions, of which Perov was one of the founders and leaders.
2. Perov was born in Tobolsk on December 23, 1834. He was the illegitimate son of the local prosecutor, Baron G. K. Kridener.Despite the fact that soon after the boy’s birth his parents got married, Vasily had no rights to his father’s surname and title. For a long time, official documents indicated the surname “Vasiliev”, given by the name of his godfather. The surname “Perov” was given to the future artist in the form of a nickname by his literacy teacher, a supernumerary sexton, for his diligent penmanship.. When Perov was still a boy, Kridener, due to his independent character, was forced to leave government service. The family's financial situation deteriorated greatly, and the father had to take a poorly paid position as an estate manager. Perov spent his childhood in the vicinity of Arzamas.
1. After completing a course at the Arzamas district school, he was sent to the art school of A.V. Stupin in Arzamas.Here, from 1847 to 1849, he received the beginnings of his professional education. The following years he worked independently, living with his father on the estate.In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where his teachers were M. Scotti, A. Mokritsky and S. Zaryanka.At first his teacher wasE. Vasiliev, who extended a helping hand to the young artist during the most difficult period for him.Vasily graduated from college under the guidance of S.K. Zaryanko.A positive feature of studying at the Moscow School was the opportunity, simultaneously with the studios, to paint “pictures based on subjects they themselves had invented or selected from those proposed, but not given in any way.At the end of the fifties, Perov was already quite technically prepared and could set himself creative tasks, striving for a truthful and clear presentation of the topic that excited him. When the time came to work in order to receive academic medals, Perov painted one after another, which, appearing at exhibitions, immediately created his name.
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In 1856, he received a small silver medal for a sketch of a boy’s head presented at the Imperial Academy of Arts. This award was followed by others awarded to him by the Academy: in 1858 - a large silver medal for the painting “The Arrival of the Stanovoy for Investigation.”This picture became a notable event for the public and critics. In Perov they saw “the direct heir and successor of Fedotov.”
, in 1860 - a small gold medal for the paintings “Scene at the Grave” and “Son of a Sexton Promoted to the First Rank.”
In 1861 - a large gold medal for “Preaching in the Village.” These four works by Perov and “Scene at the Grave” and “Tea Party in Mytishchi”, which he wrote shortly after, were exhibited in Moscow and St. Petersburg, made a huge impression on the public and presented the artist as a witty genre satirist. No less endowed with subtle observation, deeply delving into Russian life, able to especially vividly expose its dark sides, but incomparably more skillful in drawing and technique than the author of “The Major’s Matchmaking.”
1. In the fall of 1862, Perov married Elena Edmondovna Shays. And in December, together with his wife, having received a pension from the Academy of Arts for a trip abroad, he left for Paris.Perov visited the main art centers of Germany and spent about a year and a half in Paris. Here he made sketches from life and painted several paintings depicting local types and scenes of street life, “Savoyar”, “Organ Grinder”, but he soon became convinced that reproducing foreign customs was not as successful for him as depicting his native Russian life.
2 . . The main goal of the trip abroad, in his own words, was to improve the “technical side”, since, having initially taken on various subjects, complex multi-figure compositions, he felt that “despite all his desire” he could not “execute a single picture that would be satisfactory." This trip was a wonderful opportunity to gain new impressions both from meeting with masters familiar from the Hermitage, and from modern exhibitions, the material of which was no less interesting and instructive, allowing one to compare one’s own level with the “European recognized one”. But he is a complete failure. It is here that he remains, first of all, just a foreigner, recording “various scenes”, a diverse type of foreign country. In 1864, Perov returned to Moscow, where his entire future life took place. In 1869, his wife died, and some time later he buried his two eldest children. To top it all off, in 1874, Perov learned that he was suffering from consumption, which was then almost impossible to cure.In recent years, Perov turned to the historical theme: he conceived a triptych about Emelyan Pugachev, pondered subjects from the Gospel and Russian folklore. Many of the artist’s plans were not destined to come true. Vasily Grigorievich Perov died (May 29) June 10, 1882 in Kuzminki (near Moscow) from transient consumption. All of the listed paintings by Perov are stored in Moscow, in the Tretyakov Gallery.